Hayden Panettiere

Perky, petite and equally at home in earnest drama and mainstream comedy, Hayden Panettiere began her career as a child model and soap opera actress. As a preteen, she worked steadily as a voiceover a...
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Breaking Bad is over, meaning we can all use a good laugh. Here's a rundown of what you should be recording this week.
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Key &amp; Peele, Comedy CentralYou know your show is popular when a 60-year-old teacher in Des Moines can recite, word for word, one of your sketches. Now that's talent! Key &amp; Peele may not be the level of say, an SNL or Chappelle's Show, as far as sketch comedy is concerned. But the boys are slowly working their way up the ranks, having made a slew of funny sketches that have already gone viral. If the name A-a-ron brings a smile to your face, you probably already know what I'm talking about. Key and Peele airs Wednesdays at 10:30 PM ET on Comedy Central.
Scandal, ABC Shonda Rhimes's sexed-up political thriller returns for a third season on ABC, with what's sure to be a whole slew of new back stabbings, murders, and adulterous affairs. It's kind of like a semi-fictional version of the real White House...on second thought, no, no it's not at all. That would just be boring. Scandal airs this Thursday at 10 PM ET on ABC.
Parks and Recreation, NBCCurrently in its sixth season, the show about small town Indiana politicos has taken over where 30 Rock, which ended its seven season run last year, left off… i.e. it's the best sitcom on network TV. So watch it already! Parks and Rec (yeah, that's what the cool kids call it) airs Thursdays at 8 PM ET on NBC.
Family Guy, FOXWhy watch Family Guy, which just premiered its twelfth season last week on FOX? Put it this way, Seth MacFarlane and his staff are at the top of their game, and unlike their animated brethren The Simpsons, have yet to run out of hilarious material. Peter Griffin is just as crass and dimwitted as ever, with Family Guy still being one of the most consistently laugh-out-loud funny shows on TV. Matt Groening can learn a thing or two. Family Guy airs Sundays at 9 PM ET on FOX.
Sean Saves the World, NBCSean Hayes makes his triumphant return to NBC as a single father that also happens to be gay. It's been nearly a decade since Hayes last played a gay character on TV (he was Jack on Will &amp; Grace), and since then, he hasn't really done much aside from guest star on an episode of WWF Raw. So yeah, I'd say returning to familiar territory is a smart career move. Sean Saves the World debuts on Thursday, October 3, at 9 PM ET on NBC.
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Although we can't single out any episode of Breaking Bad that we'd consider a disappointment, we've delved back into the archives to compile a list of our 10 favorite hours from the world of Walter White. Peruse our list (in chronological order) and chime in!
"...And the Bag's in the River" (Season 1, Episode 3)This gem is three episodes into the series, but marks the true beginning of Walter White's submission to the dark calls of desperation, and introduces us for the first time to the meticulous, poetic writing of the masterful drama. To think back now upon the panic-stricken, remorseful, humanistic Walt we see in "Bag's in the River" is almost eerie...- Michael Arbeiter
"Peekaboo" (Season 2, Episode 6)Another relatively early turn, "Peekaboo" gave fans a special, piercing insight into just how much Breaking Bad did intend to resonate with us. In its bleakest setting yet, its lowdown failure Jesse exemplifies a degree of flickering humanity that we hadn't yet seen in his attempts to rescue a silent young boy from the clutches of his dangerous, maniacal parents. We have seen this sort of emotional weight many times since then, but "Peekaboo" stands as one of the most impacting entries.- Michael Arbeiter
"4 Days Out" (Season 2, Episode 9)Walt, believing he's on death's doorstep, gets Jesse together for one last cook. One that will stow away enough money to provide for his family. But when the trusty RV fails to start, and the pair runs out of drinkable water, Walt doesn't have to worry about surviving his caner, he has to worry about surviving the night. This bottle episode really allows the characters shine as they let their true feelings break through, coming close to dying in the New Mexican desert.- Jordan Smith
"One Minute" (Season 3, Episode 7)That scene where those seemingly emotionless twin brothers (commonly known as "The Cousins") come to kill Hank is hands down my favorite scene of Breaking Bad. Yes, neither Walt or Jesse are in the scene, but Hank, a different heartbeat of the show, fights for his life against two well-dressed, vengeful murderers. Few scenes have incurred more yelling-at-the-screen ("Drive, you idiot!") than during the one minute counting down to the attack. Viewers sometimes get too wrapped up in how ruthless Walt is or how misunderstood Jesse is, and forget that this show also has impressive action-packed scenes of violence and suspense. Hopefully this scene is a good reminder of that for us all.- Casey Rackham
"Fly" (Season 3, Episode 10)Easily the most polarizing episode in Breaking Bad's run watches Walt melt under the influence of painkillers, growing rattled over the presence of a pest in his lab, internally undone by his toxic secret of having watched Jane die and terrified that he might reveal this to Jesse... or worse, live with it forever. Call it a "pretentious" or boring episode if you will, naysayers, but there are few examples of such deft character work on modern television.- Michael Arbeiter
"Half Measures" (Season 3, Episode 12)If only for the promotion of background prostitute Wendy to a glorified heroine (complete with her own theme song!) and Mike Ehrmantraut's first impressive speech about, as the title would suggest, half measures, Season 3's penultimate episode stands out as one of the most memorable turns in the show's history.- Michael Arbeiter
"Full Measure" (Season 3, Episode 13)Poor Gale. Poor, sweet, sweet Gale. If Breaking Bad had anything close to a pure innocent, it was definitely the hapless Mr. Boetticher, Gus' cook-in-training who got caught up in the messy politics of meth manufacturing. His murder was an unfortunate act of self-preservation from Walt and Jesse (or so they saw it). Gale was like a sweet little lamb that had no idea the axe was swinging right towards his head.- Jordan Smith
"Crawl Space" (Season 4, Episode 11)After Gus drags Walt to the desert and threatens to kill his entire family, Walt scrambles home to find his money in order to vanish — but the money is missing and Walt is screwed. That instance of Walter lying in his dusty crawl space, sobbing and then madly cackling as his whole world folds in on itself, is one of Breaking Bad's most horrific images. - Jordan Smith
"Dead Freight" (Season 5, Episode 5)There was some criticism for this episode being too gimmicky because of the train heist, but it was just what the show needed. Season 5 definitely had some slow points, and the suspense involved with extracting the right amount of methylamine and replenishing it with the right amount of water under a time constraint was just the touch of adrenaline that the season needed pumped back into it. Plus, we found out just how soulless Todd really was when he shot a little boy point blank, and immediately saw the impact that it was going to have on Jesse's fragile conscience.- Casey Rackham
"Felina" (Season 5, Episode 16)Maybe we just think that this episode is one of the best because we just watched it and are full of lots of feelings, but it seems like we're going to be calling it one of our favorite episodes for years to come. We've all been trying to get inside Walt's head and figure out what he's been thinking for five seasons, and this series finale finally let us all glimpse into his genius mind for just a moment... and that's all we needed. Long live Heisenberg. Oh, and Jesse (we love him too).- Casey Rackham
More:'Breaking Bad' Series Finale Recap'Breaking Bad' Recap: Granite State'Breaking Bad' Recap: Ozymandias
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In the moments between that one last Executive Producer: Vince Gilligan and a frenetic phone call from my college roommate, I struggled with the uncertainty that hits some of us after experiencing anything as grand as the Breaking Bad series finale: Was that — could it possibly have been — as perfect as I thought it was? Would everybody else in the world feel the same way, or would this be the Lost finale debacle all over again? (Hey, Walt did leave us in a pose quite reminiscent of Jack Shephard's final bow.) But then I got the call. I logged onto Twitter. I caught a few moments of glee emanated by the Talking Bad panel. I knew that this wasn't all stemming from my will to leave this program on a high note. This was real. The Breaking Bad finale was, unequivocally, perfect.
Perfect in its pacing. We got the big blow-out episode two weeks back, when Hank and Gomey bit the dust, Walt kidnapped baby Holly, and a border collie scampered across the New Mexican highway. While the world anticipated a Walt Vs. The Nazis showdown in this final chapter, that was really just the capper: the meat of the episode was the deliberate, somber cobblestone pathway leading up to that explosive end. The drama that booms inside of Breaking Bad, not the thriller that coats its outer shell.
At first, "Felina" made some of us hesitant to believe that it would accomplish everything it needed to. After a menacing stop at the Schwartz household and a quick visit with Lydia and Todd, we might have wondered if the show was delivering its final episode in a form that felt too much like a staccato bucket list. But we were validated in our hopes that the ep would soften its edges. Once Walt hit Skyler's depressing new pad, paying a visit with the secondary intentions of leaving her with the tangible evidence capable of freeing her from the law's grasp once and for all and the primary intentions of bidding one last goodbye to his wife and infant daughter (and, through a tear-stained window, his son — so shattered by his father's villainies that he has abandoned one of their most symbolic kinships: driving), the episode evened out to a steady flow that not only proved unconditionally captivating, but also retroactively acknowledged all that came before it to have been so mechanically necessary.
From that point on, we came to realize that the first half of the episode (jeez, we're already more than halfway done!) was spotted with perfection. We were sold on the grimacing opener — Walt shivering in the snowed-in car he steals up in New Hampshire, praying to a God who has no business paying him any mind and ultimately receiving the bounty for which he asks: the keys to the ride takes across country, stopping first at the Schwartz's place to put the fear of death into them in return for Elliott's boneless agreement to transfer Walt's nine million smackers to Walt Jr. upon his 18th birthday. The whole scene — a break-in that Danny Ocean would treat to an impressed nod — plays with the cinematic poise and aggressive suspension of disbelief you might find in a Hollywood heist flick. Walt, reproducing some amalgamation of Heisenberg, Mike Ehrmantraut, and the dapper leading antiheroes in whatever movies he asked Robert Forster to pick up for him during his time in the mountains, recognizes just what sort of folk he's dealing with this time around: his sort of folk. Not the hardened Salemancas or sociopathic neo-Nazis that see straight through his falsified bravado, but the kind of people he can so faintly remember being. So, he can take this one final opportunity to tout the character he has built... sans hat, but close enough.
And to concede that this scene isn't at all a deviation from the Breaking Bad universe but very much just a machination of Walt's toxic drives paying off in the only sort of community they ever really might, we find out that the two "expert hit men" he hired to shine sniper rifels into the chests of his Prague-going victims are none other than Badger and Skinny Pete. Here is a sign of the depths to which present day Walt, with millions in tow, has sunk. And just as importantly, it is a sign of series creator/episode writer and director Vince Gilligan's appreciation for his fan base. There might have been plenty of ways to convey that Walt had no intention, or means, of actually harming Elliott and Gretchen. And a dozen and a half, easy, of Walt solidifying the realization that Jesse was still at large. But none would have been more crowd pleasing. More fun for the long-time viewers. Here's one for the fans, Vince Gilligan must have smiled while writing these scene. Proof that even in its darkest, bleakest attire, Breaking Bad is not intrinsically joyless.
On, past quick shots of Walt parading through diners, his broken down old home on Negra Arroyo, and glaring ominously into his trunk, to his next victim: Lydia. A predictable sort (and predictably one, at that), Walt is able to determine the time and place of Lydia's next meeting with Todd as well as exactly what she'll be drinking at the time. The sort of beverage into which a cigarette's worth of ricin might find itself dumped during a frantic ad hoc meeting (a meeting that also gives Walt the opportunity to get a leg in to a reunion with Todd's dirtbag brethren. All in one stone. And although this scene isn't likely to stay with us the way that Walt's tyrannical traipse through the Schwartz home, his miserably poetic sit-down with Skyler, or any of what comes thereafter will, it is a point we needed to visit, and of which to watch the undertaking with a cautious and hungry eye. Walt is lucky, yes (very), but he's also quite good at much of what he does.
In a quick break from Walt, we see the Lambert sisters taking to their pre-series dynamic: high on the leverage her noble tragedy gives her over the decrepit narrative worn by her sister, Marie phones Skyler to play a condescending (never vindictive, just inherently competitive) guardian, letting her know that Walt has been spotted back inthe neighborhood, and that she best be on the lookout — because we're lucky enough to be watching Breaking Bad, it is immediately after this phone call that we realize Walt is already in the picture. When he does finally say his goodbyes to Skyler, to baby Holly, and (tacitly) to Flynn, Walt allows us something we haven't experienced in full seasons: he impresses us. Walt comes clean to himself, using Skyler as the push, that he didn't do any of this for anybody but himself. Cooking meth, ascending to the top of the kingdom, it was all to be something he never got a chance to be. To grab at the missed opportunities that have haunted him through every car cleaning and every ungrateful high school student. He needed to feel like the man he never was. And all the decay he has come to discover, and to endure, has finally made Walt open his eyes to that.
It is the first time of several in this final episode that Walt shows us something in him that we can reflect upon as sympathetic. We'll never root for him again. We'll never give him the benefit of the doubt. But we can grow wistful over shines of the man he once was. In Walt's exchange with Skyler, we see that old Walt in him again... we hold onto memories of a Walt we can remember loving. In Flynn's defeated, physically weakened trodding from bus to front door, we see an abandonment of the Walt we might ever have rooted for. And in Walt's stroking of the hairless head of a sleeping baby Holly, we see the hero, and father, he never got the chance to be. Worse even than the crumbling Skyler and altogether abdicated Flynn, we see a daughter who won't remember him at all. But he'd hang onto her, and this moment, even if he lasted another five seasons.
AMC
And then comes the boom. Walt's endeavor toward justice. We're not certain where he stands on objective, at this point. Is he just trying to reclaim his throne? Is he vying for the rest of his money, with which to shower a resentful Walt Jr.? Revenge for Hank? Freedom for Jesse? Some kind of principled takedown of the White Power movement? Or maybe, in the simplest and possibly most gratifying terms, a scientist driven to carry out a calculated plan?
Walt is ushered through the team's gates, salivating with anticipation over his opportunity to let loose his machine gun-rigged automobile. The simplest and most foreseeable of problems takes hold immediately: they snag his car keys (the weapon is operated by the unlock plooper thing — for the life of me, I have no idea what else you'd call those gadgets, and my father always used the word "plooper"). And then, a larger problem: Uncle Jack wants Walt dead. Why, exactly? Eh, who knows? He's a menace. He's a threat. He's a jackass. Take your pick. But Uncle Jack, that same Uncle Jack who so graciously gave Walt a barrel of his own dough, will not be called a liar when Walt accuses him of partnering up with Jesse Pinkman to create the blue meth that is selling hot throughout Europe these days. So, Uncle Jack parades the shackled Jesse out into the open for Walt to gaze upon. Not a partner, but a slave.
We can assume that Walt's agitation of Jack was only to bide time while he squirms for his key plooper on the fleetingly guarded pool table, and that Walt had no real intention of seeing Jesse again — at least at this particular juncture — or using him as a pawn in his plan to take down the nazi troupe. But a monkey wrench in thrown into the gears when Todd drags Jesse into the line of Mr. White's sights, and the man who just gave the wife he destroyed one last look at the good that lurks someplace inside of him surprises us yet again: he looks at Aaron Paul, but doesn't see Jesse. He doesn't see the loud-mouthed, bright-eyed, beaming idiot with a heart of gold that came under his tutilege back in the days of the desert. He sees what is left of that scrappy young pup, and feels something — call it guilt or responsibility, maybe just pity, or (if you are an idealist, like I am) a flicker of love. Corroded love. But in taking one look at the boy whose name he cried out during his painkiller soliloquy, Walt sees someone else he cares to rescue. A tackle to the ground, a quick press of the plooper (sorry if that's robbing the summary of its gravity) button, and the guns howl with fury, taking out — in a twist of fate so romantically gratifying that you're not going to call it out for being "too convenient" — every one of the low-down bastards but Todd and Uncle Jack.
Todd is left to Jesse, who strangles the monster with the very shackles in which he placed him. That's elementary poetic justice. But then Walt enacts perhaps the most surprising move we get ever in the show: he cuts Jack off, with a bullet to the head, right in the midst of a threat that he'll never know how to find the rest of his millions. That unapologetic decision tells us that this whole endeavor was not for the money, nor even for the pride. It was for freedom. It was his goodbye to this world, on the part of his trembling family and — a priority that came into being as soon as he laid sad eyes onto him — Jesse.
To articulate the currents that erupt between Walt and Jesse in their final moments together would be a task I'm not equipped to take. Walt allows Jesse the opportunity to kill him; hell, Walt allows himself the opportunity to be killed, to be put out of his demonic misery, by his proverbial son. But Jesse — wanting so badly for Walt to be out of the picture, refusing so resentfully to do him any last favors, and so painfully unable despite everything and anything else to take the life of someone who has (for better or much, much, MUCH worse) been so very important to him — can't. Won't. Doesn't. "Do it yourself," Jesse tells Walt.
In discussing the scene to follow with a few friends post-viewing, I recognize it as that which will be called out as the finale's only weak link: Walt's phone conversation with Lydia. On the one hand, we don't need to hear him tell her that she's dying, as we already know. And she, soon enough, will know. But this call isn't for us, for Walt, or for Lydia. It's for Jesse, for whose benefit Walt speaks in hearty exposition just before the tattered young man can make his way out of the incarcerating gate. Jesse needs to know that he's free. That this world to which he has been bound so mercilessly since pre-Day 1 is under the ground. Walt has plucked every major player from the meth game, topping off the list with Lydia, thusly ending Jesse's ties to this cold, chemical, blue hell. And with Jesse taking note of Walt's abolition of him, he might even set Walt free, too: of the hate. Whether or not he still holds onto the very real anger he must feel for the latest father figure to abandon him, Jesse offers Walt one final glance of sincerity. A "thanks for the memories," or a "it's been real"? Maybe. Probably, if only just a bit. It might be asking too much to think that the find, wordless stare shared by the men is anything close to the love or fraternity we always sort of wanted to believe they shared. But it's certainly civility. And, if that's not enough to make you tear up a little, it's shared history. And then, it's a goodbye.
The most wonderful goodbye we'll say to any Breaking Bad character, as Jesse speeds dynamically through the gate he tried to scale one episode and so many months before, laughing like the child he never got to be not only at his freedom from his underground cage, but from the pen in which Walter White has kept him for the past two years. Killing Walt, or seeing Walt put in jail, might never have given Jesse the ease he feels in this beautiful instance. A true understanding and trust, despite everything, that the man who has controlled his life has decided once and for all to let him go. And then once he flips on that engine, Jesse's life is, for the first time in the series, his. He belongs to himself alone. And he's off to do whatever he might wish — build boxes, draw cartoons, flee to Alaska, take care of Brock. Tying everything up so neatly, the show lets our imaginations run wild. Breaking Bad says, "Give Jesse the ending you've always wanted for him." And that's not only okay, it's perfect. Jesse, now, can have any ending he wants. And we love him. So let's all give him the one we love best.
Note: And yes, in the cold light of morning, I understand the frivolity in deeming Jesse's ending a "happy" one. Sure, he is free now in a tangible sense, and ostensibly able to escape hold of the trade for his days to come, but this is the same young man of pulverized heart and spirit that we saw lifelessly opt to flee to Alaska not so long ago. Actually, it's a man worse for wear, now that Andrea has been killed right before his eyes. Jesse will never be free, not from all that has been tattooed onto his soul thanks to the legacy of Walter White. Holly might not remember him, but Jesse won't go a moment without Walt's claws piercing him so viciously. It's a given that Jesse's life won't be perfect, and might never be "good." But I do think we can latch onto that unadulterated relief we see in him in that final second. That momentary glee. The ability to feel something in the neighborhood of hope again. I think that's a happy enough ending, and that we can have fun determining for ourselves in what way it will manifest.
And as for Walt... his ending is quite clear. As he steps with the chemist's awe into the nazis' meth lab, glowing over the machinery that gave him the torrential past two years, Walt is happy to hold fast to every twinge and twitter that he has know in this tour. He has come to a point to realize that his reasons for getting into the game were all sour, that his actions were all missteps, that everything he has done to his family and friends has been nothing short of satanic. But he has not forgotten any of the other side of it: having known all that, to some degree, this entire time, there was a reason he kept going. Everything he explained to Skyler — the feeling that he was finally what he wanted to be. A king, a hero, a man, a winner. At the expense of his wife and children, his in-laws, friends, coworkers, and of Jesse, Walt gave himself life.
It's a sad, terrible, monstrous, tragic story. But it's a human one. And as the cops flood in and we Walt fall bloody to a Jack Shephardian death, weakened by a nick from one of his own bullets and long torn down by the disease brewing inside of him, finally ready to let go after settling everything on the outside and inside alike, we recognize the human inside of Walt. We don't forgive it. We don't entirely sympathize with it. We can't say we love or root for it whatsoever. But we see it — him. We see a man. And for all he's done to everyone around him — and to us as well — we'll sure miss his story.
More:'Breaking Bad' Recap: Granite State'Breaking Bad' Recap: Ozymandias'Breaking Bad' Recap: To'hajiilee
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These are difficult times, and we must face a very grim reality: Breaking Bad is coming to an end this Sunday. It's been an amazing five years and five wonderfully intense, uncompromisingly gripping seasons of television. To say it will be missed is a staggering understatement. To fill its shoes will be a tremendous undertaking. Before we watch the closing credits roll one last time — stunned by what we've just witnessed, I'm sure — let's come to terms with saying goodbye by watching this touching, bittersweet tribute video. It includes behind-the-scenes footage from over the seasons and memories that will reconfirm why we love this show so much. Even though the song choice is pretty corny, you'll end up singing along to it through your sobs.
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When we found out that Parks and Recreation would be heading to London, our minds first went to how Ron Swanson (Nick Offerman) would be able to handle the continent of socialism and baguettes. He took it in stride – perhaps his new marriage has made him chill out a little bit – but he had a few biting things to say about Europe, Europeans, socialism, and British currency. Here are the harshest things he said about Europe on his voyage.
On European history: "History began on July 4th, 1776. Everything before that was a mistake."
On why he made the voyage over the Atlantic: "Diane suggested we tag along to London for a honeymoon. I agreed because my love for her trumps my hatred of Europe."
On Big Ben: "Look, a clock. We don't have that in America."
On the Tower of London: "You call that a tower? Try the Sears Tower, friend."
In response to a clerk who wouldn't accept his U.S dollar: "Of course you do. That's the most wonderful piece of paper in the world. Accept it."
On the British royal family: "Enjoy the fact that your royal overlords are a frail old woman and a tiny baby."
On European air: "I thought you needed some fresh air, even if that air is filled with the foul stench of European socialism."
Advice to Leslie: "Leslie, I can't believe I'm saying this, but I do not think you should leave Europe right now."
On the length of his vacation: "A train ticket? You think I want to extend my stay on this godforsaken continent?"
On British hospitality: "I would offer to buy you a drink but where the hell would that even happen?"
And finally: "All my life I've avoided Europe and its multitudes of terribleness."
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With Eastbound &amp; Down returning to HBO for a fourth and final season on September 29, let's take a look back at some of the most hilarious moments from the show's bilious star Kenny Powers (Danny McBride).
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He Knows How to InspireThey say greatness can never be taught. K.P. certainly believes that.
From "Chapter 11," Season 2: "If at first you don't succeed then maybe you just suck."
He's a Role ModelMore like the poster boy for how not to have you your children grow up.
From "Chapter 5," Season 1: "Stay in school. "Fight the Power. And don't do drugs. Unless of course you're doing 'em with me. Never turn down free drugs."
Even Kenny Has NeedsSure Kenny was once at the top of his profession. But that hasn't stopped him from slumming it every once in a while.
From "Chapter 1," Season 1: "A lot of people ask me, 'Kenny Powers you're a giant star - you can get any woman. Have you ever paid for sex?' The answer is yes, I have. Several times in fact. And it's actually kind of cool. You can negotiate practically anything, and sometimes even just kind of do stuff in the moment you never agreed to pay for, and it goes by without much argument."
He's Incredibly ImmatureDuring his brief sojourn as a gym teacher in his hometown, Kenny gives this sage advice to a student.
From "Chapter 1," Season 1: "You know what? I can already tell that I don't like you! And I'm probably not going to like you no matter how many pull-ups or push-ups you do! If anybody wants to pick on anybody in class, aim for him, cause I ain't watchin'."
He CaresIn this reference to Roots, K.P. shows his softer side. Or at the very least, what he'd like you to think is his soft side.
From "Chapter 14," Season 3: "I also didn't want to name the baby Toby, because that's a racist name. Am I correct?"
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Jumping back into Glee after a summer-long hiatus, you expect a lot to happen. As a show that introduces a new melodramatic plot point with every new camera angle, Glee delivers episodes — season premieres especially — on the pretense of new stories, but doesn't really give much in the way of significant seedlings in Season 5's "Love, Love, Love." This is especially troublesome as the episode is attached to the music of the most iconic band of the 20th century: The Beatles.
"Yesterday"Glee works the songs of The Beatles into the moreover unsubstantial issues faced by the McKinley High students and alumni. Rachel might got get a part in Funny Girl (she probably will, but she doesn't seem to know that), so she belts one of the most moving numbers in Western pop culture: "Yesterday." Certainly, we understand the connotations that extend beyond the reality of the series. But within the canon, the song hardly is hardly used to its full potential.
"Drive My Car"The Rubber Soul number was chosen to represent the budding love affair between Artie and Kitty. We join the duo at a bumper car ride for the occasion, which hits a wall when Kitty is revealed to be too concerned with her image to admit to dating a dork in a wheelchair (doesn't popularity at this school hinge on being progressive by now, though?). Here, we might have liked a more substantial number to illustrate Artie's heartbreak or Kitty's vile vanity, but this episode of Glee seems to have it all backwards
"Got to Get You Into My Life"Here, we have the real heart of the episode: Blaine professing his love to Kurt, apologizing for past infidelity, and pledging to be true forever more. This one kind of works, as well as any Glee Beatles cover can.
FOX
"A Hard Day's Night"Santana and Rachel dish out this fun, fast-paced album-header as they "slave away" in a diner run by a guy whose xenophobia hints at an apparent ignorance to the fact that he works in New York City. Not much else to say about this one.
"I Saw Her Standing There"I will never be able to approach this song without thinking of Rain Man, and will never be able to appreciate a cover of this song that does not have to do with the strained but significant relationship between a depressed narcissist and his estranged autistic brother. Otherwise, the male members of the glee club's performance of the song for Tina, who herself has been feeling lonely and bitter lately, is actually quite sweet, and uniquely appropriate to the weight of the number.
"All You Need Is Love"And finally, the big showstopper: Blaine proposes to Kurt using an elaborate ballroom symphony, a collection of most of his close friends and family, and a short but warm speech about how much he loves him. And Kurt accepts, reluctance notwithstanding, as his heart seems to know what it really wants.
More Beatles to come next week!
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PBS
This past Sunday was a hectic night for TV lovers. The conflicting scheduling of the Primetime Emmy awards, the second-to-last episode of Breaking Bad, and the Dexter series finale had many of us performing DVR gymnastics. But — while that was all going on — the soapy British drama Downton Abbey had its UK season premiere. "Oh," friends said when I told them. "Really?"
These are the same friends who used to live and die over Anna and Mr. Bates; ping-pong between loathing and pitying Edith; and gleefully recap every O'Brian and Thomas scheme. The fourth season of Downton Abbey won't hit the US until PBS begins airing it in January. But that extra hiatus should be fanning the buzz, not killing it. Downloaders should already be deconstructing the episode, since pirating a copy means nothing to them. And the fans who are either too sheltered or too scrupulous to do any such thing should be binging on Dowarger Countess YouTube compilations and complaining about the unfairness of it all. Where is everybody?
The UK premiere still pulled in huge numbers, and Downton still racked up 12 2013 Emmy nominations. But the love affair might be over for Americans, or at least a little soured. The third season of the show tested our loyalties and ability to withstand heartbreak. We watch beloved characters die all the time, but with Downton, it was different. We felt emotionally manipulated. Betrayed, even. After last year's Christmas special, I had a few friends indignantly announcing to me that they'd quit. They felt used.
Plot has always been hit or miss, but the romance; Lady Mary's endless parade of fabulous hats; a sexy Irish chauffeur, and the Dowager's unique brand of 1920s shade usually outshined storylines we'd rather forget like, say, Lord Grantham hitting on the maid. But maybe, in addition to the soul-crushing, untimely deaths that we had to deal with, season three made us endure too many boring side stories. Or maybe the American fandom is just lying dormant, waiting to explode in a fervent love fest. We'll have to wait till 2014 to find out.
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From Our PartnersStars Pose Naked for 'Allure' (Celebuzz)20 Grisliest TV Deaths of 2012-2013 (Vulture)

Disney
Bronies are so last year. The new kid's cartoon that your childless adult friends will soon be obsessed with is Wander Over Yonder, which premiered this month on The Disney Channel. But unlike My Little Pony: Friendship Is Magic, the somewhat treacly cartoon that spawned the "brony" internet mini-craze, grown-ups don't have to wrap themselves in multiple layers of self-protective irony to enjoy Wander Over Yonder: it's just legitimately fun to watch.
Created by Craig McCracken (of The Powerpuff Girls renown) and his wife Lauren Faust (who oversaw Friendship Is Magic), Wander Over Yonder is a throwback to the look and feel of the classic Warner Brothers cartoons of the '40s and '50s. Like those cartoons, each episode is basically a clever variation on a defined theme: Good-hearted space traveler Wander (Jack McBrayer) blunders into a perilous situation that he must be saved from by his cynical horse Sylvia (April Winchell), whose wisecracks are a necessary corrective to Wander's winsome sincerity. Equally retro is the '50s sci-fi look of the various worlds Wander and Sylvia travel through, which recall the sumptuousness of director Chuck Jones' classic WB shorts.
Not that it's all backwards-looking: the show's main villains, the Watchdogs, are basically giant eyeballs with feet. I'm almost positive this look is an homage to Japanese artist Takashi Murakami, whose adorably grotesque anime-inspired paintings often feature mutated eyeball-creatures.
Wander Over Yonder airs Fridays at 9 PM ET on Disney, with repeats throughout the week. Fair warning: you will never, ever dislodge the theme song from your head.
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Man or woman cannot survive on DVD box sets and possible Netflix reboots alone when it comes to enjoying our favorite TV casts. What better way for television's most dynamic duos to live on than in podcast form? With that thinking in mind, former co-stars of the beloved '90s Nickelodeon show The Adventures of Pete &amp; Pete, Michael Maronna (Big Pete) and Danny Tamberelli (Little Pete)are hosting their own podcast. "The Adventures of Danny and Mike," will send them out on the road to try their hand at different jobs such as guest-bartending in Montreal or managing an ice cream truck in Brooklyn. I guess that means Tamberelli will have to take a break from touring with his jam band. The recent announcement got us thinking of what other former duos should team up again to join the podcast-sphere.
Larry David &amp; Leon Black
While some would argue that Larry and Jeff from Curb Your Enthusiasm would make the most compatible hosts, we think it would take Leon (played by J.B Smoove) to really push Larry's buttons and make for much more interesting airtime. The two already briefly reunited for David’s HBO Film, Clear History, but that gives us just a taste of what these two masters of improv could accomplish if given their own show. Let's call it "Tit for Tat" for now.
Daria Morgendorffer &amp; Jane Lane
If you’re going to tease millennials with a Pete &amp; Pete reunion, they why not give them what they really want – a Daria and Jane reunion. They've already mastered the art of voice-acting, so a podcast would be a natural transition for both Tracy Grandstaff (Daria) and Wendy Hoopes (Jane). They could talk about the "Plastic of the Week" and expose everyday hypocrisy in a very, very soothing voice. Granted, Grandstaff's schedule is tight being a vice-president at Comedy Central and all and Hoopes is still acting, but we think they could make it work for the sake of the greater good.
Bret McKenzie and Jemaine Clement
These comedic troubadours from New Zealand started off as a BBC radio show, so it makes sense for them to return to their roots. Flight of the Conchords made an early exit from HBO – leaving us with an emotional void that only the sweet falsetto of Bret McKenzie and smooth dulcet tones of Jermaine Clement can fill.
Dr. Frasier &amp; Dr. Miles Crane
For the NPR-listening, tweed-clad set, a spin-off Frasier podcast would be just the thing to ease into your morning and fend off road rage with the some spirited discourse from our favorite buttoned-down WASP brothers. Kelsey Grammer would be a natural fit, having already played a radio host in the sitcom and David Hyde Pierce could diagnose people's problems with faux psychiatry. Having won a Tony, perhaps he could occasionally break out into song while Grammer dishes out dirt on Real Housewives of Beverly Hills.
Rickie Vasquez &amp; Rayanne Graff
Claire Danes may have received all the accolades, but for us, My So-Called Life revolved around Rickie &amp; Rayanne played by Wilson Cruz and A.J. Langer. Their chemistry was unmistakable and their sartorial choices have probably inspired thousands of tumblr themes, so why not bring this fierce twosome back together? Cruz can fluctuate into talking about modern gay culture and basic b**tches while Langer or shall we call her "Lady Courtenay," can reveal what her day-to-day life is like being married to an English Earl.
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From Our PartnersStars Pose Naked for 'Allure' (Celebuzz)20 Grisliest TV Deaths of 2012-2013 (Vulture)

Cast as the title character as a pre-teen in CBS miniseries "Too Rich: The Secret Life of Doris Duke"

Voiced the farmer's daughter in the animated feature "Racing Stripes"

Appeared in NBC miniseries "A Will of Their Own"

Landed recurring role on Fox comedy series "Malcolm in the Middle"

Voiced the character of Kate in the animated feature "Alpha and Omega"

Landed breakthrough role on NBC sci-fi drama "Heroes" as an indestructible high school cheerleader Claire Bennet

Appeared in the drama film "Fireflies in the Garden" as a younger version of Emily Watson's character

Played an elite figure skater opposite Michelle Trachtenberg in "Ice Princess"; recorded the song "I Fly" for the film

Co-starred with Connie Britton as rival country stars on ABC musical drama "Nashville"

Portrayed Lizzie Spaulding on CBS daytime drama "Guiding Light"

Portrayed the gung ho daughter of a football coach in "Remember the Titans"

Joined the cast of "Ally McBeal" (Fox) as the title character's daughter

Recorded a song titled "Try" for the "Bridge to Terabithia" soundtrack

Played the title role in Chris Columbus' "I Love You, Beth Cooper"

Played Tim Allen's daughter in "Joe Somebody"

Summary

Perky, petite and equally at home in earnest drama and mainstream comedy, Hayden Panettiere began her career as a child model and soap opera actress. As a preteen, she worked steadily as a voiceover actor in family films like "A Bug's Life" (1998) and "Dinosaur" (2000) before a recurring role as the long-lost daughter of "Ally McBeal" (Fox, 1997-2002) raised the actress' profile. Her energy and spunky can-do persona made her well cast for competitive teen features like "Ice Princess" (2005) and "Bring it On: All or Nothing" (2006), both of which helped lead to her major career breakthrough as a high school cheerleader endowed with superpowers on the primetime phenomenon, "Heroes" (NBC, 2006-2010). The show brought Panettiere to the attention of worshipful fanboys who had never met a cheerleader they did not like, giving the still young actress the tricky challenge of balancing both the sexy and the innocent as she moved into adulthood. Mainstream film projects like "I Love You, Beth Cooper" (2009) and "Scream 4" (2010) made her a presence on the big screen after the cancellation of "Heroes," although it was her next regular series, "Nashville" (ABC, 2012- ), that brought the young actress even wider exposure. As talented as she was beautiful, Panettiere mined her all-American girl persona to produce Hollywood gold.

Met while appearing together on the NBC series "Heroes"; Dated for a year from 2008-09; No longer together

Education

Name

South Orangetown Middle School

Notes

"I've learned to be a go-with-the-flow girl. If you don't expect anything, you can't set yourself up for failure." – Panettiere to TV Guide magazine, Nov. 20-26, 2006

On Oct. 31, 2007, Panettiere was involved in trying to disrupt the annual dolphin hunt in Taiji, Wakayama, Japan. The confrontation between Japanese fishermen and five other surfers from Australia and the United States lasted more than ten minutes before the surfers were forced to return to the beach, after which they left the country. Panettiere later told E! News that an arrest warrant was issued in Japan for her interference in the dolphin hunt.

In November 2007, she was awarded the "Compassion in Action Award" from the animal rights group PETA for her efforts to stop the dolphin hunt in Japan.

On Aug. 11, 2008, Panettiere's father, Alan Panettiere, was arrested for allegedly hitting his wife (and her mother) Lesley when the couple got into an argument after attending a party.